Most humans don't realize that when they exchange emails with someone, anyone, they are actually exhibiting certain unspoken rules about dominance and hierarchy. The same rules regulate the exchange of grooming behavior in rhesus macaques or chimpanzees. Interestingly, some of the major aspects of human nature have profound commonalities with our ape ancestors: the violence of war, the intensity of love, the need to live together. While we often assume that our behavior in everyday situations reflects our unique personalities, the choices we freely make, or the influences of our environment, we rarely consider that others behave in these situations in almost the exact the same way as we do. In Games Primates Play, primatologist Dario Maestripieri examines the curious unspoken customs that govern our behavior. These patterns and customs appear to be motivated by free will, yet they are so similar from person to person, and across species, that they reveal much more than our selected choices. Games Primates Play uncovers our evolutionary legacy: the subtle codes that govern our behavior are the result of millions of years of evolution, predating the emergence of modern humans. To understand the rules that govern primate games and our social interactions, Maestripieri arms readers with knowledge of the scientific principles that ethologists, psychologists, economists, and other behavioral scientists have discovered in their quest to unravel the complexities of behavior. As he realizes, everything from how we write emails to how we make love is determined by the legacy of our primate roots and the conditions that existed so long ago. An idiosyncratic and witty approach to our deep and complex origins, Games Primates Play reveals the ways in which our primate nature drives so much of our lives.

What roles do imaginary games have in story-telling? Why do fiction authors outline the rules of a game that the audience will never play? Combining perspectives from philosophy, literary theory and game studies, this book provides the first in-depth investigation into the significance of fictional games within fictional worlds. Drawing from contemporary cinema and literature, from The Hunger Games to the science fiction of Iain M. Banks, Stefano Gualeni and Riccardo Fassone introduce five key functions that different types of imaginary games have in worldbuilding. First, fictional games can emphasize the dominant values and ideologies of the fictional society they belong to. Second, some imaginary games function in fictional worlds as critical, utopian tools, inspiring shifts in the thinking and political orientation of the fictional characters. Third, a few fictional games are conducive to the transcendence of a particular form of being, such as the overcoming of human corporeality. Fourth, imaginary games within works of fiction can deceptively blur the boundaries between the contingency of play and the irrevocable seriousness of “real life”, either camouflaging life as a game or disguising a game as something with more permanent consequences. And fifth, they can function as meta-reflexive tools, suggesting critical and/or satirical perspectives on how actual games are designed, played, sold, manipulated, experienced, understood and utilized as part of our culture. With illustrations in every chapter bringing the imaginary games to life, Gualeni and Fassone creatively inspire us to consider fictional games anew: not as moments of playful reprieve in a storyline, but as significant and multi-layered expressive devices.

Most humans don't realize that when they exchange emails with someone, anyone, they are actually exhibiting certain unspoken rules about dominance and hierarchy. The same rules regulate the exchange of grooming behavior in rhesus macaques or chimpanzees. Interestingly, some of the major aspects of human nature have profound commonalities with our ape ancestors: the violence of war, the intensity of love, the need to live together. While we often assume that our behavior in everyday situations reflects our unique personalities, the choices we freely make, or the influences of our environment, we rarely consider that others behave in these situations in almost the exact the same way as we do. In Games Primates Play, primatologist Dario Maestripieri examines the curious unspoken customs that govern our behavior. These patterns and customs appear to be motivated by free will, yet they are so similar from person to person, and across species, that they reveal much more than our selected choices. Games Primates Play uncovers our evolutionary legacy: the subtle codes that govern our behavior are the result of millions of years of evolution, predating the emergence of modern humans. To understand the rules that govern primate games and our social interactions, Maestripieri arms readers with knowledge of the scientific principles that ethologists, psychologists, economists, and other behavioral scientists have discovered in their quest to unravel the complexities of behavior. As he realizes, everything from how we write emails to how we make love is determined by the legacy of our primate roots and the conditions that existed so long ago. An idiosyncratic and witty approach to our deep and complex origins, Games Primates Play reveals the ways in which our primate nature drives so much of our lives.

"Analyzes paratextual board games--particularly games based on film, television, and books--as unique media texts"--

A new analytical framework for understanding literary videogames, the literary-ludic spectrum, illustrated by close readings of selected works. In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology. After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary “auteur” game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis.

Drawing on developments in critical theory and postmodernist fiction, this study makes an important contribution to the appreciation of playforms in language, texts, and cultural practices. Tracing trajectories in theories of play and game, and with particular attention to the writings of Nietzsche, Wittgenstein, Bakhtin, and Derrida, the author argues that the concept of play provides perspectives on language and communication processes useful both for analysis of literary texts and also for understanding the interactive nature of constructions of knowledge Exploring manifestations of game and play throughout the history of Western culture, from Plato to Pynchon, this study traces developments in 20th-century cultural and literary theory of ideas about play in the writings of Johan Huizinga, Roger Caillois, Jacques Ehrmann, Bernard Suits, James Hans, Mihai Spariosu and Robert Rawdon Wilson. The author emphasizes post-structuralist developments with specific attention to deconstruction and reception theory and argues that deconstruction makes the most significant recent contribution to play theory in its application to language and to literature The work also explores the modes and effects of playforms in particular examples of postmodernist fiction. With attention to major works from Thomas Pynchon (Gravity's Rainbow), John Barth (LETTERS , Robert Kroetsch (What the Crow Said ), Angela Carter (Nights at the Circus ) and Peter Carey (Illywhacker ), Edwards acknowledges and deconstructs such basic oppositions as play and seriousness, fiction and truth, difference and identity to explore the literature's cultural/political significance. Seeking to affirm the fiction's continuing social relevance, the readings presented in this book place play irresistibly at the heartland of language, meaning and culture.